Price 25 Cents 



DE N I SONS 

BLACKFACE 




SERIES 



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A Good Day's Work 



T. S. DEN I SON & COMPANY 

PUBLISHERS CHICAGO 



DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 2y 2 hrs (35c) 8 8 

Abbu San of Old Japan, 2 acts, 

2 hrs (35c) 15 

AH a Mistake, 3 acts, 2 hrs. 

(35c) 4 4 

All on Account of Polly, 3 acts, 

2% hrs (35c) 6 10 

And Home Came Ted, 3 acts, 

2% hrs (50c) 6 6 

Arizona Cowboy, 4 acts, 2*4 

hrs (35c) 7 5 

Assisted by Sadie, 4 acts, 2]/ 2 

hrs (50c) 6 6 

As a Woman Thinketh, 3 acts, 

2 l / 2 hrs (35c) 9 7 

At the End of the Rainbow, 3 

acts, 2V A hrs (35c) 6 14 

Betty's Last Bet, 3 acts, 2% 

hrs (50c) 5 6 

Black Heifer, 3 acts, 2 hrs. 

(25c) 9 3 

Boy Scout Hero, 2 acts, 144 hrs. 

(25c) i 17 

Boy Scouts' Good Turn, 3 acts, 

Wa, hrs (25c) 16 2 

Busy Liar, 3 acts, 2J4 h. (25c) 7 4 
Cabin Courtship, 3 acts, 2 hrs. 

(35c) 5 4 

Call of Wohelo, 3 acts, \yi 

hrs (25c) 10 

Civil Service, 3 acts, 2^ hrs. 

(35c) 6 5 

Clubbing a Husband, 3 acts, 

2 hrs (35c) 12 

College Town, 3 acts, 2% 

hrs (35c) 9 8 

Deacon Dubbs, 3 acts, 2^4 hrs. 

(35c) 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(35c) 6 4 

Dream of Oueen Esther, 3 acts, 

2Vi, hrs (35c) 3 16 

Dream That Came True, 3 

acts, 2% hrs (35c) 6 13 

Early Bird, 3 acts, 2J4 hrs. 

(35c) 7 7 

Editor-in-Chief, 1 hr (25c) 10 

Empty House, 3 acts and epi- 
logue, Zy-i hrs (35c) 6 8 

Everyvouth, 3 acts, l'/ 2 h. (25c) 7 6 
Fifty- Fifty, 3 acts, 2 A hrs. 

(50c) 5 5 

For the Love of Johnnv, 3 

acts, 2 l A hrs (50c) 6 3 

Fun on the Podunk Limited, 

V/ 2 hrs (30c) 9 14 

Fun Revue, 2 hrs (35c) Optnl. 

Gettin' Acquainted, 25 min. 

(35c) 1 2 

Gold Bug, 4 acts, 2A hrs. . (50c) 7 1 



Her Honor, the Mayor, 3 acts, 

2 hrs. (35c) 3 5 

High Brown Breach of Prom- 
ise, 1 hr (30c) 16 

Indian Days, 1 hr (50c) 5 2 

In Hot Tamale Land, 2 acts, 

2 hrs (35c) 6 4 

Jayville Junction, lj4hrs.(30c) 14 17 
Kicked Out of College, 3 acts, 

2J4 hrs (35c) 10 9 

Kingdom of Heart's Content, 3 

acts, 2% hrs (35c) 6 12 

Laughing Cure, 2 acts, 144 hrs. 

(35c) 4 5 

Lie That Jack Built, 1 act, 30 

min (35c) 2 2 

Lighthouse Nan, 3 acts, 254 

hrs (35c) 5 4 

Little Clodhopper, 3 acts, 2 

hrs (35c) 3 4 

Mary's Millions, 3 acts, 2% 

hrs (50c) 5 6 

Mirandy's Minstrels. ... (30c) Optnl. 
Mrs. Tubbs of Shantytown, 3 

acts, 2% hrs (35c) 4 7 

My Irish Rose, 3 acts, 2 l / 2 hrs. 

(35c) 6 6 

Old Maids, 3 acts, 2 hrs.. . (50c) 5 8 
Old School at Hick'ry Holler, 

1% hrs (30c) 12 9 

Poor Married Man, 3 acts, 2 

hrs (35c) 4 4 

Prairie Rose. 4 acts, 2V 2 h.(35c) 7 4 
Real Thing After All, 3 acts, 

2% hrs (35c) 7 9 

Royal Cut-Up, 2 acts, 2 hrs. 

(•35c) 7 3 

Rustic Romeo, 2 acis, 2 V\ 

hrs (35c) 10 12 

Ruth in a Rush, 3 acts, 2% 

hrs (35c) 5 7 

Safetv First, 3 acts, 

2'A hrs (35c) 5 S 

Southern Cinderella, 3 acts, 2 

hrs (35.c) 7 

Spell of the Image, 3 acts, 2*4 

hrs (35c) 10 10 

Star Bright, 3 acts, 2% h. (35c) 6 5 
Thread of Destiny, 3 acts, 2J4 

hrs (35c) 9 16 

Trial of Hearts, 4 acts, 2% hrs: 

(35c) 6 18 

Trip to Storyiand, 1J4 hrs. (25c) 17 23 
Under Blue Skies, 4 acts, 2 

hrs (35c) 7 10 

Way Down Along, Prologue 

and 2 acts, 2 hrs (35c) 7 3 

When Smith Stepped Out, 3 

acts, 2 hrs (50c) 4 4 

When the Clock Strikes Twelve, 

3 acts, 2y 2 hrs (35c) 8 20 

Whose Little Bride Are You? 

3 acts, 2%. hrs (50c) 5 5 

Winning Widow, 2 acts, \y 2 hrs. 

(25c) 2 4 

Zaraetieta. 2 acts. 2 hrs. ..(35c) 7 4 



T. S. DENISON & COMPANY, Publishers, 623 S. Wabash Ave. .Chicago 



A GOOD DAY'S WORK 

OR 
HANDY ANDY 

A BLACKFACE SKIT 

ARRANGED BY 

WADE STRATTON 

AUTHOR OF 

'Almost An Actor," "An Awful Appetite," "The Barber's Bride,' 

"A Burnt Cork Barrage," "Cash Money," "Fu'st Aid to 

Cupid," "Hitting the African Harp," "Kiss Me, 

Camille," "When Cork Is King," etc. 




CHICAGO 

S. DENISON & COMPANY 

Publishers 



A GOOD DAY'S WORK 

CHARACTERS. 

Old Grimes The Employer 

Handy Andy The Servant 



Scene — Old Grimes' Kitchen. 



Time — Time to Go to Work. 



Time of Playing — About Fifteen Minutes. 

TYPES AND COSTUMES. 

Grimes — Elderly negro character, with gray or white 
wig; fairly well dressed; costume includes a house jacket, 
loose house slippers and battered high hat ; carries red 
bandana handkerchief. 

Andy — Eccentric young negro character ; dilapidated cos- 
tume, details optional ; carries a stick with a bundle, made 
of a red bandana handkerchief tied together at the corners, 
fastened at the end. 

PROPERTIES. 

Kitchen table. Two chairs. Sign, "Boy Wanted." Ham- 
mer. Pan of flour on table. Newpaper on table. Hand- 
kerchief and matches for Grimes. Bundle and cigar for 
Andy. Pitcher. Tray with dishes to break. Unbreakable 
tea-pot, with lid fastened on so it will not spill when 
dropped. Tin cup. Broom. Envelope with letter. Two 
bits of candle, pasted together with tube of paper to make 
one big candle, that will burn at both ends and will break. 
Crash box off stage. 

STAGE DIRECTIONS. 

Up stage means away from footlights ; down stage, near 
footlights. In the use of right and left, the actor is sup- 
posed to be facing the audience. 

COPYRIGHT, 1922, BY T. S. DENISON & COMPANY. 
2 

©Cl.0 fi058 6 

APR 20 72 



A GOOD DAY'S WORK 



Scene: Inside Grimes' house. Use kitchen or rough 
interior setting, if scenery is available. But this skit can be 
played on a bare platform if necessary. Doors right and 
left. Practical window, center, if available ; otherwise use 
left door instead of window for comedy business. Kitchen 
table right center, with a chair on either side. Broom against 
wall. Pan of flour and newspaper on table. 

At rise, Grimes enters from right, carrying a large piece 
of cardboard on which is crudely lettered, "Boy Wanted," 
and a hammer. He crosses and exits, left. There is a sound 
of hammering, and he re-enters left, without sign. He puts 
hammer on table, starts to sit in one chair, looks at it, signi- 
fies it is too dusty, goes to other chair, dusts it off with his 
red bandana handkerchief, sits down, removes hat and puts 
it on table, wipes forehead with handkerchief, suddenly re- 
members he dusted chair with it and indicates fear he has 
soiled his face. At this moment Andy enters from left, with 
stick oi'er his shoulder and bundle tied to end of Stick. In 
his other hand he has the sign that Grimes is supposed to 
hai'e just nailed up. Grimes sees him and rises. They meet 
at center. 

Andy (bowing, and hitting Grimes accidentally on the 
head with bundle). How do do, boss? 

Grimes. Who told you to come in? 

Andy. Nobody, boss. I just come in. (Bows and hits 
Grimes as before.) Have a see-gar. (Offers a cigar.) 

Grimes. Boy, who is you? (Takes cigar and lights it.) 

Andy. Is you de gentleman what lives here? 

Grimes. Yes, Ps de gentleman what lives here. 

Andy. Oh, you is de gentleman what lives here ? (Boivs 
and hits Grimes as before.) 

Grimes. Cut out dis 'sault and battery! Who is you? 

3 



4 A GOOD DAY'S WORK 

Andy. 'Scuse me, boss. Here's my cyard. (Hands 
Grimes the sign.) Does you want a boy now? 

Grimes. Yes, I wants a boy now — and fo' some time to 
come, if he's — (Is interrupted by a violent fit of coughing, 
and sinks into chair, making signs for help by snapping his 
fingers. Andy at first thinks Grimes is snapping his fingers 
for him to dance, and docs a fezv grotesque double-shuffle 
or buck and wing steps. Then he realises that Grimes is in 
distress. Gets his stick, puts it down Grimes' back and 
forces him to sit upright; then fans 1 him with newspaper. 
Grimes pulls the stick loose and throws it at Andy.) Boy, 
where did you git dat see-gar? 

Andy. Why, boss, I — I done found it. 

Grimes. Well, next time you see a strange see-gar layin' 
around, you leave it lay ! What's yo' name ? 

Andy. Andy. 

Grimes. Andy what? 

Andy. Andy, if you please. 

Grimes. Is Andy all de name you got? 

Andy. Folks calls me Handy Andy. 

Grimes. Dat's a very good kind of a name, and I hope 
you will prove very handy, Andy. What was de last work 
you did? 

Andy. Work is de last thing I ever would do. 

Grimes. I means where was you last occupied? 

Andy. I occupied de county jail fo' six months. 

Grimes (getting impatient). What was de last thing you 
done? 

Andy. Six months. 

Grimes. Where was you raised. 

Andy. I wasn't raised. De rope busted and I got away. 

Grimes. What did you do before you went to jail? 

Andy. Got arrested. 

Grimes. Of course. But what for? Did you rob a 
henroost ? 

Andy. No, boss, I didn't rob no henroost. I jes' tried 
to rob a henroost. 

Grimes. What did you do befo' dat? 



A GOOD DAY'S WORK 5 

Andy. I was a farmer's boy. 

Grimes. Do you think you could wait on me? 

Andy (scratches head). Reckon I could. I used to tend 
to de hogs. 

Grimes (threatening him). Never mind dat ! You git to 
work. (Sits in chair at right of table.) 

Andy. Wait a minute, boss. Dey's one topic of conver- 
sation dat ain't been disgusted in detail. 

Grimes. What you mean? 

Andy. You knows dog-gone well what I means. What 
does I git ? 

Grimes. You gits a job. 

Andy (sits left of table and looks sternly at Grimes). 
What does I git in wages, ol' man ? 

Grimes. Wages? 

Andy. Yassuh. Wages ; cash money ! (Starts pushing 
table slowly toward Grimes.) 

Grimes. Bless my soul ! Who ever heard of such ex- 
actitude? 

Andy. I ain't mentioned exactitude. I says wages; cash 
money. How much does I git? 

Grimes (defiantly). Who wants to know? 

Andy. Handy Andy! (Pushes table suddenly against 
Grimes, who tilts back and nearly upsets. He returns the 
table vigorously against Andy, who tumbles backzvard off 
his chair.) 

Grimes (striding toward Andy). I'll tell you what I'll 
do wid you. I'll give you nothin' at all the fu'st year. 
(Takes Andy by the collar.) And de second year, I'll raise 
you. (Lifts Andy to his feet.) 

Andy (dratmng away timidly). Keep yo' hands off o' 
me. I don't like to git raised. 

Grimes. Well, git busy; git busy. 

Andy. Yassuh, boss. An' what is de particularities of 
my job of employment? 

Grimes. Fu'st, I want you to keep de house. 

Andy. Yassuh. I won't leave nobody run off wid it. 



6 A GOOD DAY'S WORK 

Grimes. And look to de door. 

Andy. Ps lookin' at it now. 

Grimes. And take out de garbage. 

Andy. Yassuh. 

Grimes. And carry out all my orders. 

Andy. Yo' orders and de garbage will be carried out 
together. 

Grimes. Now, go down dem stairs (points off right), 
and you'll see de kitchen. You'll find my Dinah there. 

Andy. Boss, what do you think this is, a Pullman car? 
(Disgustedly.) Dineh! 

Grimes. I said Dinah; my servant. 

Andy. Oh ; de kitchen mechanic. 

Grimes. She'll tell you where to put your things. 

Andy (starting to go unz^illingly) . Anoder colored folks 
in dis house. Me and de other old woman'll be havin' a 
battle all de time. 

Grimes. Dis ain't a old woman. Dis is a young yaller 
gal. 

Andy. Young? (Enthusiastically.} Oh, kitchen, kitchen; 
I hear you callin' me! (Picks up his stick and bundle and 
rushes off right.) 

Grimes (sits at table and picks up newspaper). Ah, it 
looks like Handy Andy is jest de boy what I wanted; spry 
and energetic; and so quiet. (Loud crash off right.) I 
want some cool water. Pm dyin' wid thirst. (Calls.) 
Andy ! Handy Andy ! 

Andy (off right). Suh? 

Grimes. Here! 

Andy (off right). Yassuh. 

Grimes. What? 

Andy (off right). I hear you. 

Grimes. Come here dis moment. 

Andy. I can't ; Ps engaged. (Another loud crash off 
right.) 

Grimes. Engaged to my gal already? Come here, you 
black bottle of ink. 



A GOOD DAY'S WORK 7 

Andy enters, right. 

Andy (sulkily). You's always wantin' somethin'. 

Grimes. What you been doin'? 

Andy. Gettin' acquainted with yo' yaller gal. 

Grimes. How come all dat noise? 

Andy. Jes' me and Dinah droppin' a few remarks. 

Grimes. Git me some drinkin' water. 

Andy (starting right). Yassuh. (Turns.) Some drink- 
in' water? Yassuh! (Goes out right and immediately re- 
turns with a pitcher, which he places on table.) 

Grimes (picking up pitcher, and about to drink from it). 
Now fo' a good long inwigoratin' swig of — (Looks in 
pitcher.) What's dis, ink ? 

Andy. No, suh. I jes' dumped a cup of coffee in de 
water. 

Grimes. How come? 

Andy. You said you wanted some drinkin' water. 

Grimes. Well ? 

Andy. Coffee is drink. So I done give you some drink 
in water. 

Grimes (starts to throw pitcher at Andy and then checks 
himself). You is a tricky black rascal! 

Andy. Yassuh. Same to you, suh. (Laughs heartily.) 

Grimes (shouts). Shet up yo' liver-lipped mouth or I'll 
have it nailed up, or a door built on to it. Here (gives 
pitcher to Andy), heave dis here junk outen de window. 
(Andy drops pitcher through window. Crash off stage.) 
Hey? (Sinks into chair.) Is de roof comin' in? What in 
Sam Hill has you done, niggeh ? 

Andy (looking out window, laughs heartily). It done 
hit a lady plumb on de head. She sure has ruined dat 
pitcher ! 

Grimes (angrily). Hustle yo' dogs, black boy! Go 
down in de kitchen and git my toast and tea. (Picks up 
netvspaper.) 

Andy (shuffles off right, and immediately returns). Does 
you want butter on yo' toast ? 



8 A GOOD DAY'S WORK 

Grimes (reading paper, snappishly). Yes! 

Andy (disappears and re-appears, as before). Bofe 
sides? 

Grimes. No ! 

Andy (same bus.). On de edges? 

Grimes. I'll edge you. 

Andy (same bus.). What kind of toast does you desire? 

Grimes. Dry toast! Git out, befo' I busts yo' neck. 
(Andy exits right.) I'm clean discombobbolated. (Slides 
down in chair, sleepily, and lets paper fall over his face; 
speaks with muffled voice under it.) He's de wustest boy 
I ever see in all my born days. (Falls asleep and snores.) 
Andy enters right, and observes that Grimes is asleep. 

Andy (sings, to a made-up tune) : 

I've heard tigers holler, 

I've heard lions roar. 
But I never heard nothin' 

Like that before. 

(Stealthily approaches Grimes, picks up paper and peeps 
underneath at Grimes' face. Sings:) 

I've travelled all over 

From North to South, 
But I never seen nothin' 

Like dat nigger's mouth. 

Grimes (awakening). What you mean disturbin' me, 
boy ? Where's my tea and toast ? 

Andy. You wants dry toast, boss ? 

Grimes. Sure I wants dry toast. Fetch it here. 

Andy. 'Tain't dry yit. 

Grimes. Is it on de fire? 

Andy. No; I hung it on de clothes line to dry. 

Grimes. Fool! Go and git it! (Pushes against Andy, 
who resists.) Go and git it! (Same business.) Go and 
git it! (Pushes again, but this time Andy doubles down 
and Grimes falls over him.) 



A GOOD DAY'S WORK 9 

Andy (laughing). Did you say go and git it? (Exit 
right.) 

Grimes (mutters angrily to himself). Did I say go and 
git it! (Yells after Andy). Yes, I said go and git it, you 
great, big, flat-footed, liver-lipped, lazy, no-count, low-down, 
dog-gone — 

Andy enters hastily, from right, with tray of dishes and 
tea-pot. 

Andy. Comin' to you, boss; comin' to you. (Trips and 
drops tray, which falls with a crash.) 

Grimes. Pick it up, you clumsy-footed, butter-fingered, 
misguided offspring of adversity ! (Andy Jtastily scrambles 
the dishes and fragments back on the tray and picks it up.) 
Sot it down ! (Places his left hand on the edge of the table. 
Andy sits on his hand.) I didn't say set down. I says 
sot it down! (Andy gets up.) Git de tea. (Andy puts 
tray on far end of table, and picks up tea-pot; it is hot, and 
he keeps passing it from one hand to the other). Sot it 
down here ! (Pounds right hand on table. Andy puts tea- 
pot on Grimes' hand. Grimes jumps up, with business of 
burnt hand, putting it in his mouth, blowing on it, etc.) 
What kind of treatment is dis? Are you tryin' to scalp me? 

Andy. Dis ain't no scalp treatment, boss. 

Grimes. Git a cup. (Comic business by Andy of get- 
ting cup ivhile -tea-pot is burning fingers.) Pour me a drink 
of tea. 

Andy. How much? 

Grimes. Enough fo' to drink. 

Andy. About one finger? 

Grimes. About four fingers and a thumb. (Takes cup 
and holds fingers around it. Andy starts to pour tea, and 
Grimes throws the drops from cup into Andy's face.) Pour 
some tea! (Andy starts pouring carefully into cup held by 
Grimes. Then his attention strays from cup to Grimes' 
face, and he pours tea on Grimes' hand. Grimes drops 
cup, and roars with rage. When Grimes drops cup, Andy 
drops tea-pot in fright, at the same time pushing tray and 



10 A GOOD DAY'S WORK 

dishes from table to floor; crash.) You great, big, low- 
down, monkey-faced — 

Andy. Boss,„you done said all dat before. 

Grimes. You lazy bag o' bones, git to work. Git a broom 
and clean up dis mess. (Picks up nexvspaper angrily and 
sits down to read. Andy starts to clean up but makes so 
much noise Grimes cannot read. Turns angrily.) Hush 
dat fuss! (Resumes reading. Andy reverses broom and 
pretends to brush high in the air. Grimes turns again and 
sees him. ) What you up to ? 

Andy. Pooty nigh up to de ceilin'. 

Grimes. What are you doin'? 

Andy. Sweepin' down de spiders. 

Grimes. You better hadn't. 

Andy. How come I better hadn't? 

Grimes. Bad luck. 

Andy. Go long! What's spiders good for? 

Grimes. Good for flies. (Picks up hat from table, puts 
it on and resumes reading.) 

Andy (shouldering broom, in burlesque military fashion). 
Shouldeh — humph ! Company, atten — humph ! Mark — 
humph! (Marks time.) Fix — bay 'nets ! (Comedy busi- 
ness with broom.) Over de top — humph! (Twirls broom 
over Grimes' head so it knocks his hat off.) Charge — 
bay 'nets ! (Rushes toward window and pokes broom handle 
out of window. Glass crash.) 

Grimes. More trouble. You broke de window ! 

Andy. It was cracked befo' ! 

Grimes. Shut up yo' noise; you'll split my head! 

Andy. It was cracked befo'. 

(Doorbell rings.) 

Grimes (motioning toiva-rd left). Answer de door, 

Andy. De door ain't said a word. 

Grimes. Answer de doorbell. 

Andy (threateningly). Don't you call me no dumb-bell! 
(Exit left door, and immediately re-enters, tearing open an 
envelope.) 






A GOOD DAY'S WORK 11 

Grimes. Who de letter for? 
Andy. Reckon it's for you, boss. 

Grimes (snatching it). How dare you open my letters? 
Andy. To save you de trouble. 

Grimes. Go fetch me a candle. (Andy exits right.) 
And remember, I wants it lighted, too. 

Andy re-enters, right, -with a candle that is lighted at both 

ends. 

Grimes (amazed). Well, what do you call dat? 
Andy. You said you wanted it lighted too. 
Grimes. Blow out one end. 
Andy. Which end? 
Grimes. De bottom end. 
Andy. Which is de bottom end? 
Grimes. De heavy end. 

Andy. Ain't no heavy end. Both ends is light. 
(They both blow at the same time, each blowing out one of 
the ends.) 

Andy and Grimes (together). What fo' did you blow 
out de wrong end? 

Grimes. Go and light one end. 

(Andy starts right, falls and breaks candle, exits right 
and immediately re-enters with one end lighted. Mean- 
while Grimes prepares to read the letter, turning it over 
several times, scolding, etc. Andy holds lighted candle for 
Grimes to read, but forgets to pay attention, toying with 
unlighted piece of candle, tasting it and grimacing, etc.) 

Grimes. Reckon it's from my daughter. Hoi' dat light! 
(Reads.) "My dearest father — " (Andy weeps loudly.) 
What you blubberin' 'bout ? 

Andy (crying). I had a father once. 

Grimes. Well, who ever heard of anybody havin' a 
father twice? Hoi' dat light ! (Reads.) "I have been under 
de doctor's care, and hopin' you are de same, please turn 
over." (Andy turns a somersault.) What are you doin'? 

Andy. Turnin' over. 



12 A GOOD DAY'S WORK 

Grimes. It means turn over on de other side. (Andy 
rolls over sideways.) Cut out dem monkey shines and hold 
dat light! (Reads.) "Dey would not pass me at my exam- 
ination. Dey said I was a donkey. I am, your lovin' daugh- 
ter, Sarah Ann." 

(Andy, in curiosity over letter, brings candle close to it 
and sets it afire as Grimes finishes reading. Fast hurry 
music. Grimes burns his fingers, drops letter, goes after 
Andy and cliases him once around the table. Then Andy 
grabs Grimes by the neck and shoves his face down into 
pan of flour on table. Grimes comes up zvith face white, 
blozi's flour from mouth, gropes in front of him, as if blind- 
ed, etc. Andy runs once around table, pushing tray, dishes, 
etc., off on to the floor, with Grimes in pursuit. Then he 
jumps out window with taunting yell. Loud glass crash. 
Grimes shakes his fists in anger, picks up "Boy Wanted" 
sign, and starts despairingly for left door, as — ) 

The Curtain Falls. 



DENISON'S ACTING PLAYS 

Partial List off Successful and Popular Plays. Large Catalogue Free 



FARCES, COMEDIETAS, Etc. 
Price 25 Cents Each 

M. F. 

AH on a Summer's Day, 40 min. 4 6 
Aunt Harriet's Night Out, 35 

min 1 2 

Aunt Matilda's Birthday Party, 

35 min 11 

Borrowed Luncheon, 20 min.. 5 
Case Against Casey, 40 min... 23 

Doo-Funny Family, 1 hr 3 9 

Fun in Photo Gallery, 30 min.. 6 10 

Getting Rid of Father, 20 min. 3 1 

Goose Creek Line, 1 hr 3 10 

Great Pumpkin Case, 35 min.. 12 

Hans Von Smash, 30 min. — 4 3 

Honest Peggy, 25 min 8 

Irish Linen Peddler, 40 min... 3 3 

Irish Stew, 1 hr 6 4 

Just Like a Woman, 35 min... 3 3 

Me and Betty, 30 min 2 5 

Men Not Wanted, 30 min 8 

Mother Goose's Goslings, 30 m. 7 9 
Mrs. Hoops-Hooper and the 

Hindu, 35 min 12 

Mrs. Jenkins' Brilliant Idea, 35m. 8 

Mrs. Stubbins' Book Agent, 30 m. 3 2 

Not a Man in the House, 40 m. 5 

Paper Wedding, 30 min 1 5 

Pat's Matrimonial Venture, 25 

min 1 2 

Rummage Sale, 50 min 4 10 

Sewing for the Heathen, 40 

min 9 

Shadows, 35 min 3 4 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 
Teacher Kin I Go Home, 35 

min 7 3 

Too Much of a Good Thing, 45 

min 3 6 

Two Ghosts in White, 20 min.. 8 

Two of a Kind. 40 min 2 3 

Uncle Dick's Mistake. 20 min.. 3 2 
Watch, a Wallet, and a Jack of 

Spades, 40 min 3 6 

Whole Truth. 40 min.... 5 4 

Who's Crazv Now? 25 min.... 3 2 

Who's the Boss? 30 min 3 6_ 

Wrong Baby, 25 min v 8" 

FARCES, COMEDIETAS, Etc. 
Price IS Cents Each 

April Fools, 30 min 3 

Assessor, The, 15 min 3 2 

Before the Play Begins, 15 

min 2 1 

Billy's Mishaps, 20 min 2 3 

Country Tustice, 15 min 8 

Family Strike, 20 min 3 3 

For Love and Honor, 20 min.. 2 1 
Fudge and a Burglar, 15 min.. 5 
Great Medical Dispensary, 30 m. 6 
Initiating a Granger, 25 min.. 8 
Kansas Immigrants, 20 min... 5 1 

Pair of Lunatics, 20 min 1 1 

Pat. the Apothecary, 3 5 min.. 6 2 

T. S. DENISON & COMPANY, 



M. F. 

Second Childhood, 15 min 2 2 

Smith's Unlucky Day, 20 min.. 1 1 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min.. 4 4 
Troubled by Ghosts, 10 min... 4 

Two Aunts and a Photo, 20 m. 4 

Wanted: A Hero, 20 min 1 1 

Wide Enough for Two, 45 min. 5 2 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min 1 1 

At Harmony Junction, 20 min. 4 

Cold Finish, 15 min 2 1 

Fresh Timothy Hay, 20 min.. 2 1 

Hey, Rube! 15 min 1 

I'm a Nut, 10 min 1 

It Might Happen, 20 min 1 1 

Little Miss Enemy, 15 min.... 1 1 

Little Red School House, 20 m. 4 

Marriage and After, 10 min.. 1 
One Sweetheart' for Two, 20 m. 2 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10m. 1 

Quick Lunch Cabaret, 20 min. . 4 

School of Detecting, 15 min... 2 

Si and I, 15 min 1 

Special Sale, 1 5 min 2 

Street Faker, 15 min 3 

Such Ignorance, 15 min 2 

Sunny Son of Italy, 15 min,. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubles of Rozinski, 15 min.. 1 

Two Jay Detectives, 15 min.. 3 

Umbrella Mender, 15 min.... 2 

Vait a Minute, 20 min 2 

BLACK-FACE PLAYS 
Price 25 Cents Each 

African Golf Club, 25 min 10 1 

Almost an Actor, 20 min 2 

Axin' Her Father, 25 min 2 3 

Battle of Roaring Bull, 30 min.. 11 
Battle of Rollin' Bones, 30 min. 8 

Black Vamp, 15 min 2 2 

Booster Club of Blackville, 25 

min 10 

.Cash Money, 20 min 3 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 m... 1 1 
Coontown Thirteen Club, 25 m. 14 

Dark Secret, 30 min 4 1 

Fu'st Aid to Cupid, 20 min... 3 2 
Good Mornin', Judge, 35 min.. 9 2 
Hitting the African Harp, 

15 min. 2 

Hungry, 15 min 2 

Kiss Me, Camille, 20 min. 2 1 

Mysterious Suitcase, 15 min... 2 
Oh, Doctor! 30 min 6 2 

A great number off 
Standard and Amateur Plays 
not found here are listed In 
Denlson's Catalogue 

Publishers, 623S. Wabash Ave., Chicago 



1—422 



LIBRRRY OF CONGRES 



The Fun Rev 




017 401 476 



By Frederick G. Johnson. A flexible musical sho. 
30 to 100 men and girls. Has many short parts, giving chances for numerous 
individual hits, and no star parts, except as performers make them so. Not a 
serious moment in it. Opportunity for dancing and musical specialties according 
to local talent at hand. Goes with a rush, and sends everybody home happy. 
Contains detailed instructions for staging, and suggestions on choosing musical 
numbers. Tremendously popular. Price, Paper Cover, Postpaid, 35 Cents. 

In Hot Tamale Land 

By Geoffrey F. Morgan. Musical comedy in 2 acts; 10 principals (6 male, 
4 female) and a chorus of any size. Ideal for college and high school produc- 
tion, having no elaborate stage requirements, though scenery and costumes may 
be as lavish as desired, and it can be made a thoroughly pretentious offering. 
Has been produced with great success. Requires but one stage setting. Contains 
detailed directions for staging. Price, Paper Cover, Postpaid, 35 Cents. 

A Royal Cut-Up 

By Geoffrey F. Morgan. Musical comedy in 2 acts; 10 principals (7 male, 
3 female) and a chorus of any size. Colleges and high schools wishing to stage 
"a regular musical show" will find "A Royal Cut-Up" exactly suited to their 
needs. Effective, yet easy to stage. Brisk and breezy lines, rich in snappy 
comedy of dialogue and situation, and allowing for plenty of local quips. 

Price, Paper Cover, Postpaid, 35 Cents. 

When Cork Is King 

By Wade Stratton. A rich store of bright, snappy material for building 
up a minstrel show and affording lively chatter for first-part and olio. Con- 
veniently arranged with subdivisions under which are assorted first-part crossfire, 
end gags and comebacks; end jokes for female minstrels; minstrel miscellany in- 
cluding verses, conundrums and short bits of catchy humor; seven dandy mono- 
logues; three fast blackface skits. Price, Paper Cover, Postpaid, 35 Cents. 

How to Stage A Minstrel Show 

By Jeff Branen and Frederick G. Johnson. This book is to every amateur 
minstrel director what blue-prints are to a builder. Explains modern styles of 
minstrels and novelty minstrels; how to put the show together; how to organize 
the troupe and conduct rehearsals; where to get material; the opening chorus; 
it discusses first-part, olio, afterpiece, costumes, make-up, scenery, music, pub- 
licity, program arrangement, etc. Eight full-page illustrations showing various 
first-part settings. Price, Paper Cover, Postpaid, 35 Cents. 

Some Vaudeville Monologues 

By Harry L. Newton. Thirteen for men and five for women. Contents: 
"People I Have Met," "Well, I Swan!" "Her Busted Romances," "Music a la 
Carte," "Abie Cohen's Wedding Day," "Sorrows of Sadie," "Tipperary Tips," 
"Kissing as an Art," "Panhandle Pete," "Tillie Olson's Romance," "As Tony 
Tells It," "Suffragette Susie," "A Sad Lover," "Chatter," "My Father Says, ' 
"I'm a Tellin' You," "The Precinct Politician," "Yon Yonson, Yanitor." Unique 
illustrations of each character. 

Handsomely bound in cloth. Price, Postpaid, $1.25. 

T. S. DENIS0N & COMPANY, Publishers, 623 South Wabash Avenue, CHICAGO 



